The animated documentary “Flee” is full of powerful moments and visuals that touch the hearts of many viewers, earning the documentary an Oscar nomination. The film is centered around the character of Amin, a man who became a refugee from Afghanistan, as he tells the story of his childhood to a friend whom he met later in life. The animation techniques used in this documentary set it apart from the others I have watched, making it an especially enjoyable and impactful work. 

The Hollywood Reporter states, “Amin initially balked at [the director’s] idea to make a movie about his experience. But then came the idea of an animated film, primarily to tell the story while still giving Amin his privacy.” While unusual, this technique gives the opportunity for anonymity that would not have been possible through the traditional live action format. This likely encouraged Amin to be more vulnerable with the director and to share some stories that may not have otherwise been included.

While animation is not usually a genre that I gravitate towards, I do not feel that the film would have been the same in any other medium. Documentaries focusing on the past often need to consist of found footage from various news sources and personal collections. In contrast, animation creates the opportunity for such moments such as close-up shots of facial expressions, in turn showing the deep emotions felt by the characters on screen.

One particularly powerful scene of the documentary depicts Amin and his mother on a boat escaping Russia when it comes in contact with a large cruise ship from Norway. All of the passengers on the small boat are thrilled by the sight of this ship, as they see it as an opportunity for freedom. The animator uses perspective as a tool to illustrate the difference between races and opportunities, as the large cruise ship looms over the very small boat. This size difference illustrates where the two groups of characters are coming from and where they dream of going, while the refugees hope of building better lives for themselves.

The perspective of the animation is very effective at placing the audience in the boat with the refugees, instead of looking at the scene from an objective perspective. Brilliantly, this strategy builds empathy for Amin and his mother, as well as the other refugees on the boat. By placing the audience in the boat alongside them, we are overcome with feelings of hopelessness, facing dreams that seem almost impossible to achieve.

The animator also illustrates the boat holding the refugees from the perspective of the people on the cruise ship. The boat looks small and insignificant from this downward facing angle, demonstrating how little the people from Norway care about those below them in comparison to the high level of desperation felt by the refugees on the boat. 

One of the main themes explored by the director in this scene was the sense of embarrassment felt by the refugees. Amin felt uncomfortable with his position as someone  begging for help. Midway through the scene he states, “I don’t know why, but as I stand there looking at the ship, I just can’t feel the joy,” as those around him are all waving and yelling with happiness. They feel that the people more fortunate than them will extend a helping hand while he is ashamed to be in this position in the first place. This is clearly shown by the emotions on Amin’s face when compared to the others around him. He has his head down with a look of shame, while his mother beside him has her hand raised, and a hopeful look in her eyes. Asking for help is never an easy undertaking for anyone, as it is often stigmatized and tied to factors such as race and gender.

The vacationers from Norway are illustrated with blank and empty looks on their faces, displaying a lack of compassion towards the refugees. Their faces lack the detailed depth and dimension that is shown in the faces of the refugees, instead appearing flat and apathetic. 

When the ship informed the refugees that they would be sent “back to where they came from,” the animation clearly displayed looks of shock and horror across all of their faces as their dreams faded away.

As shown through the integration of live action footage directly following this scene, the refugees ended up spending a large amount of time in a refugee camp where journalists came in, reported and then left. This pattern mirrors the tourists on the cruise ship taking pictures of the refugees hoping to be rescued, instead of working to help them obtain better lives.

I found the integration of live action footage to be very effective. I think that inserting clips from news sources into an animated documentary kept it grounded in reality, reminding the audience that even though real faces were not seen, real people were greatly affected. 

The live action footage of the refugee camps ultimately illustrates the idea that people use those in need for personal gain such as profit from work or entertainment, rather than working to find a solution that could help them live better lives. People dismissed the wellbeing of others, instead harming them further than if they had just left them alone. 

The documentary poses a complicated concept that is discussed a lot in the journalism world and has no true answer. Involving yourself in a situation ultimately invalidates the legitimacy of your journalistic piece due to it no longer being objective. However, profiting off of the misfortune of others by telling a story that you took for free also seems wrong.

As such, through its unique artistic techniques as well as its depiction of Amin’s story, the documentary calls into question the balance between truthfully representing people’s stories and supporting oneself as a journalist. How do realistic pieces of media balance entertainment and assert their right to exist without sensationalizing or commodifying the struggles of others? When covering sensitive and personal subjects, it’s hoped that the broader reach of journalistic pieces and their potential to inspire others to offer support will ultimately yield greater positive impact than any individual efforts. However, there is no true answer and no true balance between journalism and providing aid as a journalist.